INDEX OF JAPANESE NAMES, TITLES, AND TERMS
Page numbers refer to the print edition but are hyperlinked to the appropriate location in the e-book.
Italicized numbers indicate illustrations. A lowercase p after a page number indicates that a poem by the author in question appears on that page.
ageku (last verse of a linked-verse sequence), 139, 203
aishōka (lament), 203
Akashi, Lady. See Murasaki Shikibu
Akechi Mitsuhide, 132
Akera Kankō, 183
Aki no yo hyōgo, 237
akikaze no ki, 153–54
allusive variation. See honkadori
Amaterasu, 52
Ana ureshi, 157
Ari no mama, 226
ari no mama, 65, 67, 142, 215–18, 249
Arii Shokyūni, 153–54p
Arima ryōgin kochū, 120–21
Ariwara no Narihira, 181–82p
Asai Masasuke, 133
Asaji, 127
Asayama Bontō, 240, 242p; on ari no mama, 217; on hon’i, 228; on jimon, 234; on keiki, 237; on kotowari, 208; on taketakashi, 255; on za, 213
Ashida Rokuzaemon. See Kao
Ashikaga Yoshihisa, 123–24, 176
Ashikaga Yoshimasa, 123–24
Asō Jirō, 186–87p
asobi, 98
Asukai Masatsune, 274n17
Atago hyakuin, 131–32
atarashi, 121
aware (moving, touching), 122, 126, 142, 219–20, 224, 231, 244–45, 256, 263
Azuma mondō, 270
azumauta (eastern song), 208
background. See jimon
Bai Juyi, 41–42p, 51, 183, 191, 194, 230
Baizan, 154–55p
Ban Kōkei, 240
Bashō. See Matsuo Bashō
Bashōmon kojin shinseki, 146–47
Betsuzashikijo, 234
Biwa’en zuihitsu, 271
Bodhidharma, 145
Bontō. See Asayama Bontō
Buddhist poems. See shakkyōka
bunjin, 198
Buson. See Yosa Buson
Buson kushū, 150–51
byōbu uta (screen poem), 41, 203
“Chang hen ge,” 41–42
chanoyu (tea ceremony), 75–76
charming. See en
Chichi no shūen nikki, 162
Chief Abbot Jien. See Jien
Chikurinshō, 10, 112–13, 113–14, 117–18, 191, 227, 235, 239, 246, 248, 257, 266
Chirenshō, 259
Chiun. See Ninagawa Chiun
chōka (long poem), 20–35 passim, 42–43, 46, 71–73, 78, 81–83, 83–84, 92, 96, 99, 203; definitions of, 1–3
chokusenshū (imperial anthology), 3, 107, 203, 210
Chōmu, 146
Chōtanshō, 208, 213, 217, 228, 234
Chūka jakuboku shishō, 194–95
close linking. See shinku soku
Comments on the First Sequence of the New Year. See Hatsukaishi hyōchū
courtly elegance. See miyabi
Crown Prince Katsuhito. See Emperor Go-Kashiwabara
dai (prescribed topic), 7, 9, 43, 45, 50, 53, 55, 56, 57, 59, 61, 64, 66, 68, 69, 70, 74, 78, 79, 88, 102, 126, 155, 164, 179, 180, 183, 204, 207, 209, 212, 230; definitions of, 14–15, 204, 220–24
daiei (composing on topics), 68, 204, 220–24
daisan (third verse of a linked-verse sequence), 128, 204, 212
Danrin toppyakuin, 136–37
Dassai shōoku haiku chō shō, 249
deep feeling. See ushin
Deki Shōkyū, 136–37p
design. See jimon
distant linking. See shinku soku
Dokuraku gin, 86–87
dōri. See kotowari
double entendre. See kakekobota
Du Fu, 241
Ehon yamato hiji, 106
Eiga no ittei, 68, 144, 205, 206, 234, 242
Eiga taigai, 142
elegant and refined. See yū
elegy. See banka
Emperor Go-Daigo, 192
Emperor Go-Hanazono, 262p
Emperor Go-Kashiwabara, 127–28
Emperor Go-Murakami, 257p
Emperor Go-Saga, 107
Emperor Go-Shirakawa, 98–99
Emperor Go-Toba, 55, 59, 125, 220; and dai, 57; and en, 224; and heikai, 226; and hosoku karabitaru, 261; and jukkai, 207; and karabitaru, 248; on yasashi, 260
Emperor Go-Tsuchimikado, 119, 123, 127–28
Emperor Hanazono, 216–17p
Emperor Jinmu, 17
Emperor Kiritsubo, 42
Emperor Ninmyō, 190
Emperor Saga, 189–90
Emperor Tenchi, 21–22, 24, 61–62p
Emperor Uda, 41
Emperor Xuanzong, 41–42
Emperor Yuryaku, 95–96p
Empress Eifuku, 66
Empress Jingū, 52
Empress Suiko, 20
en (charming, lovely), 58, 62, 122, 224–25, 270
engo (associated words), 213
envoy. See hanka
essence. See hon’i
ethereal beauty. See yōen
Etsujin, 140p
famous places. See nadokoro
final verse. See ageku
first verse. See hokku
foundation poem. See honkadori
fu (rhapsody or rhyme prose), 189, 204
fudōki, 208
fueki ryūkō, 240
fūga (courtly elegance), 240, 225–26, 297
Fujiwara Munechika. See Uejima Onitsura
Fujiwara no Ietaka, 60–61p
Fujiwara no Kiyosuke, 51–52p, 60–61p, 241–42p, 263
Fujiwara no Mitsumoto, 274n34
Fujiwara no Mototoshi, 205
Fujiwara no Sanekata, 46–47p
Fujiwara no Sanesada, 219p
Fujiwara no Shunzei: 205p, 242p; and aware, 244; contest judgments of, 56–57, 212, 266; and en, 58, 224, 226, 242; and heikaitei, 54, 226; on Man’yōshū poets, 22; and sabi, 247; and yōen, 261; and yū, 53, 266; and yūgen, 268
Fujiwara no Takasuke, 220p
Fujiwara no Tameie, 63, 64, 107–8p, 144; and daiei, 68; and hare no uta, 205; on jimon, 234; and makoto, 240; on nadaraka, 242
Fujiwara no Tameuji, 62–63, 64
Fujiwara no Teika, 14, 55, 57–58p, 106, 107, 122, 155, 207–8p, 211, 226, 229–30p, 241p, 250p, 265p; and daiei, 220–21; and honkadori, 229–30; and ke no uta, 207–8; and keikyoku, 236; and Ogura hyakunin isshu, 51, 61–62; and shinku/soku, 250; and taketakaki yō, 55; and ushin, 52, 58, 61, 62, 219, 256; and uta-awase, 212, 220; and yōen, 58; and yōen and yojō, 261–64; and yūgen, 45–46, 62, 110, 268
Fujiwara no Yoshitsune, 245p, 261p, 266–67p
Furu no nakamichi, 254
furyū, 204, 225. See also fūga
Fusen, 144p
Fushimatsu no Kaka, 182–83p
Fushimiin gyoshū, 65–66
fuzei (artistic atmosphere), 63, 204, 234
Ganryū, 133
ganzen. See ari no mama
Gekimōshō, 232
Gendai haiku, 218
Genji monogatari, 42, 47–48, 56, 67, 113–14, 138, 213, 216, 219, 220, 230, 232, 262
Genjūan no ki, 164
Gidō Shūshin, 9
Gion Nankai, 198–99p
Gishūmon’in no Tango, 260p
Go-Toba no in gokuden, app. 1, 207, 224, 226, 260
Gojō Tametaka, insert 3
Gojūshichigajō, 212
goun (skandhas), 192
Grand Consort, the, 21–22p
Gukenshō, 236
Gumon kenchū, 234
Gyōkō, 146
Gyoku sanjin kashū, 162–63
Gyokuyōshū, 65–67, 240, 253, 254
Gyōyū, 131
haikai, 135–72 passim, 176, 178, 179, 181, 184–86, 203–71; definitions of, 4–5, 204
Haikai nishi kasen ato, 159
haikai no uta (comic or unorthodox waka), 46, 47, 204
haikai renga (comic or unorthodox linked verse), 204
haikai renku (haikai linked verse), 4, 235, 238
Haikai sabishiori, 138, 203, 223, 249
Haikai Shirao yawa, 143–44
Hamada Chinseki, 243
Hana no magaki, 236, 242, 253–54
hana no moto renga (renga beneath the blossoms), 110, 122, 123
Hanabinokoji Ichion, 152
hanka (envoy), 17, 23, 28, 30, 32, 34, 72, 82, 84, 91, 203, 204; definitions of, 3, 203–4
hanshi, han no kotoba (contest judgments), 44, 53, 54, 56–57, 129, 204, 212, 220
hare no uta (formal or public poem), 62, 205, 207
Harusame monogatari, 78
Haseba no Kuromasa, 36p
Hatsukaishi hyōchū, 141–42, 236, 141–42, 238–39
headnote. See kotobagaki
heikai, heikaitei (ordinary or plain style), 54–55, 226–27
Heike monogatari. See Tales of the Heike
heitanbi, 242
Hekidōsai, 218
Henjō. See Archbishop Henjō
hibiki, hibikizuke, 139, 244, 265. See also nioizuke
hie. See hieyase
hiekōritaru. See hieyase
hiesabi. See hieyase
hieyase (cold and spare), 225, 227–28, 261
Higuchi Ichiyō, 88–89p
Hino Suketomo, 192
Hino Tomiko, 123–24
Hino Toshimoto, 191–92
Hirota no yashiro no uta-awase, 52–53, 245, 247
Hisago, 243
Hitomaro. See Kakinomoto no Hitomaro
Hitorigoto (by Shinkei), 225, 227, 228
Hitorigoto (by Uejima Onitsura), 145
Hōjōki. See The Ten-Foot-Square Hut
hokku (first verse of a linked-verse sequence), 4–8, 11, 12, 108, 111–12, 122–26 passim, 130–31, 135–38 passim, 143–51 passim, 153–55, 157–70 passim, 204, 205–6, 212–13; definitions of, 4, 205–6
hokku-awase (hokku contest), 212
Hokusō sadan, 80–81
hon’i (essence), 68, 206, 220, 228–29, 229–32
honbun, 232. See also honzetsu
Honchō ichinin isshu, 189–92
honkadori (allusive variation), 60–61, 73, 138, 206, 190, 215, 229–32
honzetsu (allusion to tales or other writings), 230, 232
hōraku renga, 125
Hosokawa Yūsai, 130–31p
hosoku karabitaru, 249, 261. See also hieyase; sabi
hosomi (spare, slender), 232–33
Hōtoku ninen jūichigatsu sentō uta-awase, 262
Hototogisu, 170
Housman, A. E., 1
hundred-poem sequence. See hyakushu uta
Hyakuban renga-awase, 116–17
hyakuin (hundred-verse renga sequence), 4, 5, 107, 108, 114–15, 126, 128, 131, 206, 207
Hyakunin isshu. See Ogura hyakunin isshu
Hyakunin isshu ōeishō, 226, 274n34
hyakushu waka (hundred-poem sequence of uta), 55, 58, 61, 206, 233
Ichijō Kaneyoshi, 262
Ichiyō kashū, 88–89
Ikkyū Sōjun, 175–76p
imayō (modern song), 4, 99–102, 206
imperial anthologies. See chokusenshū
Inawashiro Kenzai, 14, 71–73p, 83, 113–14, 122–23p, 228, 233p, 236, 248p, 259p, 266; on hieyase, 227; and kotobazuke, 239; and sabi, 248; on shinku soku, 251–52; and yariku, 259
Inbunmon’in Chūnagon, 244–45p
Inoue Seigetsu, 163–64
Inu tsukubashū, 177
Iozakura, 229
Ippontei Fuyōka, 179–80p
Iseshū, 41–42
Ishida Hakyō, 169–70p
Ishikawa Jōzan, 195–96
Ishikawa Takuboku, 92
Ishiwara Masaakira, 265
Isonokami Otomaro, 28
Issa. See Kobayashi Issa
Issa Suikei ryōgin hyakuin, 155–56
Itchō. See Toyoshima Itchō
Itō Shintoku, 256p
Iwashimizu wakamiya no uta-awase, 262
Izayoi nikki, 64
Izumi Shikibu, 53
Jakunen, 247p
ji. See jimon
Jichin. See Jien
jikkei, 218
jimon (background and design), 111, 121, 116–17, 118, 122–23, 129, 206, 209, 233–34, 237, 252
jimon no renga. See jimon
jimon no uta. See jimon
Jinmu. See Emperor Jinmu
jisei no uta, kanshi, or ku (death poem), 176–77, 192, 206
jo, jokotoba (metaphorical preface), 26, 39, 43, 55, 76, 89, 206–7
Jōha. See Satomura Jōha
johakyū (prelude, breakaway, presto), 115, 206
jōruri, 6
judgments. See hanshi
Jūhachi-ban hokku-awase, 231
jukkai (expressing feelings), 74, 207
Juntokuin onhyakushu, 58
Jūronibenshō, 265
Kabekusachū, 219
Kaen rensho kikigaki, 217, 250, 276n101
kaeshi uta. See hanka
Kafū haikushū, 168–69
Kaga no Kogimi, 33
Kagaku teiyō, 219
Kagawa Kageki, 85–86p, 210, 218p, 231–32p
Kagetsu ichiyaron, 149
kagurauta (sacred song), 3, 96–97, 118, 207, 208
Kaka. See Fushimatsu no Kaka
Kakanshū, 13
kakekotoba (pivot word), 1, 2, 3, 26, 57, 73, 76, 97, 124, 178, 180, 207, 262
Kakinomoto no Hitomaro, 3, 16, 22–24p, 26, 43, 63, 236p
kami asobi uta, 96. See also kagura
Kamo no Chōmei: on dai, 204; on sugata, 210–11; on keikyokutei, 236; on shūitsu, 252–53; on yūgen, 268, 269–70
Kamo okina kashū, 77–78
Kamuri sen, 184–85
kamurizuke, 184–85
Kanginshū, 102–4
Kankō. See Akera Kankō
kansei (affecting), 142
kanshi, 189–201; definitions of, 5–6, 207. See also jueju; lushi; shi
Kanshō hyakushu, 226–27
Kao, 152–53p
karabitaru (sere, dessicated), 248. See also hieyase; sabi
Karagoromo Kisshū, 180–81p
Karai Senryū, 185
Karasumaru Mitsuo, 240
karauta. See kanshi
karumi (lightness), 141, 148, 149, 227, 234–35, 252
Kasa no Kanamura, 27–29p
kasen (thirty-six-verse haikai sequence), 5, 139, 159, 170–72, 207
katami, 38
Katō Chikage, 82
Katsukawa Shunshō, 10, 16, 40, 94
Kawai Kenpū, 149p
Kawai Sora, 153
Kaya Shirao, 138, 157, 223, 249
kayō (popular song), 17–19, 95–104 passim; definitions of, 3–4, 207
ke no uta (informal waka), 207
Kei Kiitsu, 185–86
Keien isshi, 85–86, 218, 231–32
Keikandō, 113–14, 239, 248, 266
keiki (scene or scenery), 207, 236, 241
keikizuke, 139, 156, 235–36, 241
keiko (practice), 133
keikyokutei, 207, 236–38. See also keiki
ken’yō. See miru tei
kendai, kenjitsu no dai, 204, 207, 211
kenjitsu no kai, 207
Kenkō, 221p
Kenkō hōshi shū, 221
Kenzai. See Inawashiro Kenzai
keshiki, 235, 236. See also keiki; keikizuke; keikyokutei
Ki no Tsurayuki, 43–44p, 64, 125, 252p
Kifū, 238p
kigo (season word), 135, 152, 167, 168, 169, 171, 209, 223, 228
Kijō. See Murakami Kijō
Kikaku. See Enomoto Kikaku
Kikusha. See Tagami Kikusha
King Hsiang, Uchiko, 189
Kinkafu, 95–96
Kinkaishū, 255
Kinoshita Chōshōshi, 7p, 76–77p, 195
Kinshi, 154p
kinuginu no uta (morning-after poem), 45, 48
Kirihioke, 56
Kisei Reigen. See Son’an Reigen
Kitamura Kigin, 142
Kitō. See Takai Kitō
Kiyūkyoku, 170–72
kōan (Zen meditation exercise), 193
Kobayashi Issa, 155–56p, 158, 162p
kodai kayō (ancient song), 2–3, 17–19, 208
Kojijū, 265p
Kojima Kaneyuki. See Karagoromo Kisshū
Kokinshū, 38, 44, 45, 46, 73, 84, 85, 97, 117–18, 203; poems from, 42–43, 45, 46, 96, 178, 182, 204, 222, 230–31, 236, 259, 263
Kokinshū preface, 125–26, 150, 253
kokoro (heart, feeling), 57, 194, 208, 238, 239
kokoro ari. See ushin
kokoro no amari. See yojō
kokorobososhi (desolate, forlorn), 233
Komo jishi shū, 146
konashi, 227
kotoba (diction, vocabulary), 57, 208, 239–40
kotobagaki (headnote), 14, 208
kotobazuke, 208, 239–40. See also yoriaizuke
kotowari (principle, logic), 129, 208
Kōun, 226; on daiei, 222; and heikaitei, 226; and omoshiroki tei, 245, and yūgen, 269
kouta (little song), 4, 102–4, 209
Kōyō sekiyō sonjashi, Chazan, 199, 200
kudai kanshi, 194–95
Kūge. See ōshima Kanrai
kugutsu, 98
Kume Masao, 167
kunimi, 78
Kunizane-kyō no ie no uta-awase, 244
kuraizuke, 143
Kusakabe Kyohaku, 225p
Kyōgen ōashū, 180
Kyōgoku school, 63–66, 217, 218, 240, 241, 250, 253–54
Kyōgoku Tamekane, 218, 240p, 241, 253; and makoto, 66, 240
Kyōgoku Tamenori, 63
Kyohaku, 238p
Kyohakushinhyō, 76
kyōka (comic waka), 47, 86, 175–84 passim, 47, 86; definitions of, 5, 209
Kyōka godaishū, 179
kyōku, 185, 209. See also kyōka
Kyomyōshi Gitō, 145
Kyoraishō, 142, 147, 232, 235, 248, 252, 265
Kyūshu no michi no ki, 130–31
Kyūso, 152p
Kyūzei, 14, 110, 111, 116, 253p, 255p, 264p
Lady Horikawa, 164
Lady Ise, 40, 141–42p
Lady Kasa, 38–39p
Lady Kenreimon’in, 144
Lady Kunaikyō, 56–57p
Lady Sakuheimon’in, 65–66p
laments. See banka
landscape trays (suhama), 44
Li Bai, 198
lightness. See karumi
link. See tsukeku
linked verse. See renga
lofty style. See taketakaki yō
lovely. See en
lushi, 6, 189–90, 190–91, 193–94, 197, 199–200, 209
ma no atari. See ari no mama
Maeda Toshitsune, 132
maeku, 110, 116, 126–27, 131, 133, 140, 142, 143, 233–34, 238, 239, 247, 251, 252, 254, 255, 259, 261, 264
maekuzuke, 5
Maigetsushō, 256
makoto (truth, sincerity), 66, 85, 145, 210, 217, 240–41, 249
Makura no sōshi. See The Pillow Book
makurakotoba (pillow word), 3, 18, 21, 22, 24, 30, 73, 83, 84, 92, 96–97, 209, 212
manku (ten-thousand-verse renga sequence), 206, 222
Man’yōshū, 2, 3, 20, 26–27, 29, 30, 34, 35–36, 37, 61–62, 64, 73, 77, 86, 88, 89, 203, 204, 208, 220; poems from, 19–20, 21, 22–23, 25, 26, 27–28, 30, 31–32, 33–34, 35, 36, 37, 38, 39, 63, 73, 78
Masaoka Shiki, Shiki, 24, 163, 164–65p, 166, 169, 238, 249p
Masara. See Prince Masara
Mashita Mitsuhiro, 227p
Matsue Shigeyori, 135–36p
Matsumura Gekkei, 134
Matsuo Bashō, 5, 14, 132, 137–38p, 139, 140, 144, 147–48; 154–55, 159, 162p, 164p, 166, 172, 177, 186p, 203, 223, 226, 227, 231p, 232p, 234, 235p, 243p, 244p, 249p, 256, 267p, insert 11; and en, 225; on hosomi, 232; on karumi, 141–42; and kasen, 207; on keiki, 237; and kokorozuke and nioizuke, 238; and makoto, 240; and miyabi, 197; and nioizuke, 243–44; and sabi, 248; and soku, 251; and shiori, 252; on taketakashi, 256; and yasashi, 261; and yojō, 265
Matsuoka Shisen, 220p
me no mae. See ari no mama
meisho. See nadokoro
metaphorical preface. See jo
Mibu no Tadamine, 45–46p, 58, 211
michi (way), 160
Mikata no Sami, 33–34p
Mimosusogawa uta-awase, 54, 226, 247
Minamoto no Kanemasa, 266p
Minamoto no Kunizane, 244p
Minamoto no Michitomo, 216p
Minamoto no Sanetomo, 255p
Minamoto no Shunrai, 205
Minamoto no Sukekata, 99
Minamoto no Tomochika, 220–21p
Minamoto no Toshiyori, 242, 244, 268
Minase sangin hyakuin, 125
Minasedono koi jūgoshu uta-awase, 56–57
Minishū, 60–61
mirutei, miruyōtei (the style of visual description), 236, 241–42
Miura Chora, 258p
miyabi (courtly taste), 6, 225
Miyako no Yoshika, 50–51p
Mizuta Saigin, 229p
Mokudō, 237p
mon. See jimon
mondō, 231
mono no aware tei. See aware
monthly meeting. See tsukinamikai
morning-after poem. See kinuginu no uta
Moto no shimizu, 267–68
Motoori Norinaga, 220
mujō (impermanence), 11, 13, 119, 137
Mukai Kyorai, 142–43p, 147, 248p, 265
Mumyōshō, 204, 211, 236, 253, 268, 273n1
Murakami Kijō, 170p
Murasaki Shikibu, 47–48p, 49, 216p, 269p. See also The Tale of Genji
musubidai (compound topics), 209
Mutamagawa, 185–86
mystery and depth. See yūgen
nadaraka (smooth, gentle), 242–43
nadokoro (famous places), 30, 55, 64, 130, 209, 212
“Nagai hei,” 187
Nagai Kafū, 168–69p, insert 14
Nagai Tatsuo, 167
nagauta. See chōka
Naidaijin-ke uta-awase, 266
Naitō Jōsō, 143–44p
Nakajima Shichirō, 186
Nakao Kaishi, 203
Nanimichi hyakuin, 114
Nankai Sensei shibunshū, 198–99
Nankai. See Gion Nankai
nari, 236. See also keikyokutei
national studies. See kokugaku
Natsume Sōseki, 165–66p
Natsume Sōseki nikki, 165–66
nenbutsu, 161
Nennen zuihitsu, 265
Nichisei, 117p
Nihon no chizu, 93
Nijō school, 217, 241, 242, 250, 253, 256, 276
Nijō Tameyo, 269p
Nijō Yoshimoto, 111–12p, 206, 213, 216; on ari no mama, 216; on fūga, 225; and honzetsu, 232; and keikyokutei, 236; on kokorozuke, 238; on waki, 120; on yariku, 259; on yojō, 264
nikki, 166
Ninagawa Chiun, 2, 14, 112–13p, 175–76p, 248p, 266p
nioi (scent), 157
nioizuke, 156, 243–44, 251, 265
Nisui, 144
Noguchi Zaishiki, 136–37p
Nōjun, 132–33
Notes from My Backpack. See Oi no kobumi
Nozawa Bonchō, 12, 146p, 147–48p
Nun Abutsu. See Abutsu
Ochi Etsujin, 140–41p
Ōe no Chisato, 229–30p
Ogura hyakunin isshu, 16, 45, 51, 52, 58, 61–62, 226
Oguri Shiyū, 143
Ogyū Sorai, Sorai, 196–97
Oi no chiri, 160–61
Okada Yasui, 140–41p
Okai Takashi, 171–72p
okashi (witty, novel), 244–45, 256
Oku no hosomichi, 132, 153, 161
Okun, 78–79p
Okunshū, 78–79
Omoidasu koto nado, 166
omokagezuke, 244. See also nioizuke
omomi (heaviness), 234–35. See also karumi
omoshiroshi, 142, 208, 263, 270. See also omoshirotei
omoshirotei, omoshiroyō (the style of cleverness), 57, 110, 234, 245–47. See also omoshiroshi
One Hundred Poems by One Hundred Poets. See Ogura hyakunin isshu
Onitsura. See Uejima Onitsura
Onitsura haiku hyakusen, 241
Ōshikōchi no Mitsune, 42–43p, 43–44p, 82, 84
Ōshima Kanrai, 159–60
Ōshima Ryōta, 159
Ōta Nanpo. See Yomo no Akara
Ōtabon Shunmusōchū. See Shunmusōchū
Ōtagaki Rengetsu, 87–88p
Ōtomo no Yakamochi, 26, 34, 37–38p, 38–39
overtones. See yojō
Ozawa Bokuseki, 136–37p
Ozawa Roan, 80–81p, 85, 145, 254p
personal anthology. See shikashū
Pillow Book of Sei Shōnaogon, The, 6, 102, 169, 219, 242
pillow word. See makurakotoba
pivots, pivot word. See kakekotoba
poem contest. See uta-awase
poems by guards of the capes. See sakimori no uta
Poetry Contest at Hirota Shrine. See Hirota no yashiro no uta-awase
Prince Katsuhito. See Go-Kashiwabara
Prince Masara, 190p
Prince Munenaga, 69–70p
Prince Shōtoku, 19–20p
Prince Sukehito, 190–91p
Princess Senseimon’in, 269
Princess Shikishi, 55–56p, 255p
Princess Uchishi, 189–90
Rai San’yō, 200–201p
Ranpa, 118–19p
Ranshitsu, 154p
refined feeling. See ushin
Reizei school, 64, 217, 250, 254
Reizeike waka hihikuden, 217
renga (linked verse), 107–33 passim 2, 6, 10, 75, 82, 106–33 passim, 137, 163, 175, 203–71 passim; definitions of, 4–5, 209
renga kaishi, 131
Renga shotai hidenshō, 234, 255
renga-awase (renga contest), 116–17
Renri hishō, 236
Retired Emperor Fushimi. See Emperor Fushimi
Retired Emperor Go-Saga. See Emperor Go-Saga
Retired Emperor Go-Toba. See Emperor Go-Toba
Retired Emperor Juntoku. See Emperor Juntoku
reverberation. See hibiki
Reverend Kūdō, 241
Reverend Prince Shukaku, 229p, 263
Rika, 235p
Rikashū, 69–70
rikka, 117
Rikyū hyakushu, 75–76
rinne (repetition), 209
Rokujō Arifusa, 276n101
Rōnyaku gojisshu uta-awase, 59–60
Roppyaku-ban uta-awase, 224, 266
Ryōjin hishō, 97–103
Ryōkan kashū, 83–84
Ryōkan, 83–84p
Ryūsui, 152–53p
sabi (lonely, forlorn), 71, 146, 149, 153, 247–49, 263, 268
Sabi shiori, 152
sabishi. See sabi
sabishiori. See shiori
sabitaru. See sabi
sabu. See sabi
sacred song. See kagurauta
saguridai (drawing topics), 204
Saigō Takamori, 88
Saigyō, 54–55p, 195, 203, 211p, 212, 225, 221, 225, 226p, 247p, inserts 1 and 12
Sakanoue Kōshun, 142
Sakanoue ōiratsume, 37–38
Sakuheimon’in, 65–66p
sama (poetic style or effect), 209, 220
samuku yasetaru. See hieyase
sandaishū, 204
Sanetaka-kō ki, 127–28
Sanjōnishi Kin’eda, 109
Sanjōnishi Sanetaka, 75, 122–23, 127–28, 219–20, 224, 243p; and aware, 219–20; and shinku/soku, 250; and yūgen, 270
Sankashū, 54–55
San’yō shishō, 200–201
sarikirai (clashing), 115, 209
Sasamegoto, 60, 110, 120, 250, 270, 276nn103,104
Sassa Narimasa, 73–74p
sata (decree), 129
Satomi Ton, 167
Satomura Jōha, 109p, 131–32p, 228
scenery link. See keikizuke
Sei Shōnagon, 102, 242. See also The Pillow Book of Sei Shōnagon
Seibi hokku shū, 162
Seibyō senku chū, 233, 248, 259, 275nn94,95
Seigetsu kushū, 163–64
Seihakudō Kōfū, 177–78p
Seikatsu o utau, 92–93
Sen’ya, 152–53p
Senka, 141–42p
senku (thousand-verse renga sequence), 206, 222
senryū (comic haikai), 2, 5, 185–87, 209; definitions of, 5, 209, 184–87
Senryū nyūmon, 186–87
Senseimon’in. See Princess Senseimon’in
Senzaishū, 48–49, 182, 226, 242
Sesshu Tōyō, fuga, 128, 193, 225
Sesson Yūbai, insert 2
Setchū’an the Fourth. See ōshima Kanrai
Sha’en, 155p
shakkyōka (Buddhist poem), 48–49, 210
Sharakudō no ki, 177
shasei (sketching from life), 163, 170, 217, 249
shi (Chinese poem), 5, 192, 210. See also kanshi
Shibakusa, 10
Shichinin tsukeku hanshi, 126
Shihōshō, 228
shikashū (personal anthology), 210
Shikashū, 53
Shiki zenshū, 164–65
shikimoku (rules of linked verse), 4, 109, 115, 122, 128, 135, 137, 171, 206, 209, 210, 225
Shikishi Naishinnō. See Princess Shikishi
Shimada Shūji, 170–72p
Shimizu Ippyō, 162–63p
Shimomura Shunpa, 223p
Shin kokinshū, 60, 62, 125, 203, 204, 208, 212, 220, 264; poems from, 51, 54, 55, 56, 57–58, 59, 68, 73, 195, 205, 207, 211, 216, 219, 229, 241–42, 245, 250, 260, 265, 266–67, 268, 269
Shin’yōshū, 257
Shinkei hōin teikin, 260
Shinkei, 10p, 111, 114–15p, 116–17p, 119–21p, 122, 191, 226–27p, 227–28p, 236, 239p, 250–51p, 270; on en, 225, 227; and heikaitei, 226–27; on hiekōritaru, hieyase, 117, 225, 227, 228, 261; and keiki, 236; and kotobazuke and kokorozuke, 239–40; and omoshiroki tei, 110; on shinku soku, 250–52; on soku, 60; on waki, 120; on yasashi, 260; and yasetaru tei, 261; and yūgen, 270
shinkeikō, 186
shinku. See shinku soku
shinku soku (close and distant linking), 60, 112, 115, 120, 129, 133, 238, 249–52. See also kokorozuke, kotobazuke
Shinonome, 250–51
Shinpen fushōshū-a, 195–96
Shinpen fushōshū-b, 196
Shinsen kyōkashū, 177
Shinsen Tsukubashū, 122–24, 126–27
Shinsen zuinō, 208
Shinshō, 109–10
shiori (withered, bent), 252
Shirai Chōsui, 138
shisenshū, 210
Shitakusachū, 267
Shitoribe no Karamaro, 35–36p
Shogaku yōshashō, 115, 205, 226, 228
Shōhaku, 125–26p, 128, 224, 237p, insert 5; and en, 224
Shōji ninen jūgatsu tsuitachi uta-awase, 220
Shōkenkō, 193
Shoku gosenshū, 62–63
Shoku goshūishū, 269
Shokusan hyakushu, 182
Shōkyū. See Deki Shōkyū
Shokyūni. See Arii Shokyūni
Shōmyōin tsuizen senku, 109
Shōrin’an naniki hyakuin, 259
Shoshinshō, 205
Shōshō no Naishi, 107–8p
Shōsō, 144p
Shōtetsu, 1, 61, 70–71p, 117, 146p, 197, 250, 254, 270p; and yojō, 265; on yūgen, 270
Shōwa shika haiku shi, 170
shū (collection, anthology), 1, 3, 210
Shūchūka, 169
Shugen, 141–42p
Shūi gusō shōshutsu kikigaki, 241
shūitsu (superb verse), 118, 143, 252–53. See also jimon
shūka, 252–53. See also shūitsu
Shūkei, 11p
shūku (tour de force), 252. See also shūitsu
Shunpa. See Shimomura Shunpa
Shunzei. See Fujiwara no Shunzei
Shunzei’s Daughter, 262p
Sino-Japanese linked verse. See wakan renku
Sōanshū, 12
Sōboku. See Tani Sōboku
Sōchō, 72, 103, 121, 122, 126–27, 177, 219–20p, 267, 224–25p, 267, insert 5
Sōchō hyakuban renga-awase, 219, 224
Sodō. See Yamaguchi Sodō
Sōgi, 71–73, 106, 113, 115, 117, 121–22p, 122p, 125, 126–27, 128, 129p, 160, 177, 193, 225, 238p, 251p, 267p, insert 5; on ari no mama, 216; on hiesabitaru, 228; and hokku, 120–21; on jimon, 234; on kokorozuke, 238; on soku, 250–51; and taketakashi, 118; and ushin, 118, 257–58; and yariku, 259; and yūgen, 118, 270
Sōgi jisankachū, 216
Sōgi shūenki, 71–73
Sōi. See Sugihara Sōi
Sōjinbon wakuraba. See Wakuraba
Sōjun, 118–19
Sōkan. See Yamazaki Sōkan
soku. See shinku/soku
Son’an Reigen, 194–95
“Song of Everlasting Sorrow, The.” See “Chang hen ge”
Song Yu, 189
Soraishū, 196–97p
Sōsaku nōto, 169. See also Nagai Kafū
Sosei, 46p
Sōseki. See Natsume Sōseki
sōshō, 171
Sōzei. See Takayama Sōzei
stylized epithet. See makurakotoba
Suganami Tokinori. See Kan Chazan
sugata (total effect or configuration), 54, 210, 242, 244. See also sama
Sugawara no Michizane, 132
Sugihara Katamori. See Sugihara Sōi
Sugihara Sōi, 120–21
Sugino Suikei, 156p
Sugita Tankō, 138–39p
Sugiyama Sanpū, 141–42p
Sujū. See Takano Sujū
Sukehito Shinnō. See Prince Sukehito
Suketomo. See Hino Suketomo
Sumika o utsusu kotoba, 158
Tachibana Akemi, 86–87p, 224, 240
Tachibana Nankei, 80
tadagotouta (poems in colloquial style), 253–54
tadakotoba (everyday language), 81, 253
Tagami Kikusha, 160–61p
tai. See tei
taigendome, 58
Taigi kusen, 8
Taikenmon’in Horikawa, 164–65p
Taikenmon’in Horikawa shū, 164
Taikōki, 73–74
Taira no Kanemori, 246p
Taira no Narifusa, 99
Takahashi no Mushimaro, 31–33p
Takahashi Riichi, 267
Takai Kitō, 154, 223p, 256, 258
Takano Kimihiko, 170–72p
Takano Sujū, 170p
Takasunagoshū, 241
Takayama Sōzei, 113–14p, 114–15p, 118, 121, 235; and keiki, 236; and miru tei, 242; and tadakoba, 253–54p
Takeno Jōō, 75
taketakashi, taketakakiyō (the grand or lofty style), 55, 60, 118, 142, 211, 215, 254–56, 263, 270
Tale of Genji, The. See Genji monogatari
Tales of the Heike, 18
Tamatsukuribe no Hirome, 36p
Tamekane-kyō wakashō, 240
Tamekane. See Kyōgoku Tamekane
Tamenori. See Kyōgoku Tamenori
Tan Taigi, 8p
tandai. See saguridai
Tanganshi. See Tōdō Sengin
Tani Sōboku, 128–29p, 218p, 230p, 231, 264p, 264
Tanka kenkyū, 171
Tanzaku (poem strip), 87
Tao Yuanming, 145
Taorigiku, 161
Taueuta (rice-planting songs), 3, 208
tei (style or mood), 211
Teijiin Emperor. See Emperor Uda
Teijiin uta-awase, 44–45
Teika. See Fujiwara no Teika
Teika jittei, 45–46, 52, 55, 62, 219, 241
Ten-Foot-Square Hut, The, 10
tenchi ninjō, 139
tendō, 126
Teramura Hyakuchi, 245p
Tō no Tsuneyori, 146
Tōbun, 139p
Tōdō Sengin, 138
Tokoyoda Chōsui, 157–58p
Tokugawa Muneharu, 79
Tokuwaka gomanzaishū, 182–83
Tomotsune, 52–53p
Tonna, 63, 67–68p, 79p, 160, 222p, 246p, 270p; and dai, 11–12, 221–22; and heikaitei, 226; on jimon, 234; and makoto, 240; and ushin, 256–57
Tonna hōshi ei, 67–68, 79, 222
topic. See dai
torimonouta (presentation song), 96
Tosa nikki, 64–65
Tōsei. See Matsuo Bashō
Toyoshima Itchō, 136–37p
tōza, 68, 212. See tōza no uta
tōza no dai, 207. See tōza no uta
tōza no uta (extemporaneous waka), 68, 204, 211
Tsuboi Tokoku, 249
Tsuginohara, 225
Tsukamoto Kunio, 171
tsukeai (link, linking), 112, 211
Tsukeai tebikizuru, 258–59
tsukeku (link or linked couplet), 4–5, 10, 107–10 passim, 112–22 passim, 131–33, 136–43 passim, 170–72
tsukeyō. See tsukeai
tsukinamikai (monthly meeting), 70, 154, 211
Tsukuba mondō, 225
Tsukubashū, 107, 108, 109, 111, 255
tsuraneuta (linked verses), 4. See also renga
Tsurezuregusa, 221
Uchida Hyakken, 186–87p
uchikoshi o kirau, 209
Uchishi. See Princess Uchishi
Ueda Akinari, 78
Uejima Onitsura, 144–45p, 241p, 260; and makoto, 240–41; on yariku, 259–60
ukiuta, 95–96
umon no tei. See jimon
Unsui Seigetsu. See Inoue Seigetsu
uruwashi (beautiful), 54
ushin, ushintei (the style of deep feeling), 52, 58, 69, 80, 118, 122, 211, 215, 256–59, 263
uta: definitions of, 2–4, 212; and waka, 2
uta dai (waka topics), 223
Uta nikki, 89–92. See also Mori Ōgai
uta-awase (poem contest), 43–45, 52–53, 129, 212, 262
Utagawa Hiroshige, 174
utamakura (“pillows for poems”), 30, 212, 234
utsurizuke, 244. See also nioizuke
Vimalakirti Sutra, 49
waka (short poem), 5, 19–93 passim, 203–13 passim; and uta, 2; definitions of, 1–6, 204
Waka kuhon, 263
Waka teikin, 63
Wakamiya senka-awase han no kotoba, 57
wakan renku (Sino-Japanese linked verse), 118–19
Wakan rōeishū, 50–51, 121, 183, 188, 194, 263–64
Wakayamatobe no Mimaro, 36p
waki (second verse of a linked-verse sequence), 120, 128, 212
Wasuregusa, 258
Watanabe Junzō, 92–93p
Wife of Yoshimasa, 13
Yahantei. See Takai Kitō
Yahantei tsukinami hokku awase, 155, 223
Yakumo mishō, 215
Yamabe no Akahito, 3
Yamaguchi Sodō, 140–41
yamai (poetic fault), 45, 205, 213
Yamanoue no Okura, 25–26p
Yamato Takeru, 18–19
yamatoe, 41
yamatouta (Japanese poem), 2, 213. See also uta, waka
Yamazaki Sōkan, 176–77p
Yanagidaru, 185–86
Yang Guifei, 41–42
yasashi (gentle, graceful), 208, 260–61
yasetarutei (the spare or sere style), 261. See also hieyase
Yashima Shōrin’an naniki hyakuin, 259
Yasomura Rotsū, 232p
yasuraka, 141
yasushi, 157
yōen, yōenbi (ethereal charm), 58, 261–63
yojō (overtones), 63, 129, 142, 155, 204, 230, 238, 255, 263–66
yoriai (conventional associations), 115, 118, 211, 213
yoriai no bungei, 213
yoriaizuke, 266
Yosa Buson, 134, 150p, 151p, 152, 154, 163, 199, 238, insert 9; and aware, 220; and okashi, 245
yosei. See yojō
Yoshiya Nobuko, 167–68p
Yoshiya Nobuku nikki, 166–68
Yōsui, 239p
yū, yūbi (polished, refined), 53, 225, 256, 266–68
Yuan Zhen, 121p
yūen, 155
yūgen, yūgentei (the style of mystery and depth), 46, 62,110, 118, 142, 155, 182, 211, 247, 249, 255, 263, 268–71
Yuki no keburi, 112
za (poetry venue), 126, 143, 154, 210, 213, 260
zadankai (roundtable discussion), 171–72
Zaishiki. See Noguchi Zaishiki
zappai (parodic haikai), 185–86, 209. See also senryū
Zekkai Chūshin, 193–94
Zhang Du, 263–64p
Zōho Rengetsu zenshū, 87–88
Zōki, 47p
Zoku Sōanshū, 270
Zōshun, 118–19p